For this week's #TuesdayTip, I am thrilled to invite Jason Monaghan back to share his "Plot Spider" method for writing a second draft. Jason previously shared his "Filleted Fish" method for a first draft, so if you haven't done so already, I recommend having a read of that as well.

Jason is an author and archaeologist, now back working in his native Yorkshire after many travels. His career has taken unexpected twists including becoming a bank director, anti-money laundering specialist, shipwreck archaeologist and museum director. All of which creates plenty of inspiration for his thrillers, of which the latest is Blackshirt Masquerade published by the Historia imprint of Level Best books. He has also written the Jeffrey Flint archaeological thriller series available from Lume Books and is an active member of the Crime Writers Association.

Jason's Tip
My very spare ‘filleted fish’ first draft will be around 40,000 words, and when I’m convinced that I have a whole potential novel I draw what I call my ‘plot spider’. This used to be on paper, but I now employ a wipe board to mark up with characters, organisations and incidents connected with coloured lines. While this information may already be in my head it is a well- known design principle that presenting a plan graphically engages different parts of the mind, feeding creativity.
In the centre will be whatever is at the core of the novel, so in the case of Blackshirt Masquerade it is the British Union of Fascists in a big black circle. I link my hero and the other characters to the central circle and each other. More organisations are added around the edges: MI5, Special Branch, the Communist Party and so on.
Annotations will be added to the links, such as ‘girlfriend’, ‘witness’, or ‘kills’. Major incidents are drawn in red starbursts, linking to affected people. During this process, it becomes clear where gaps in the logic of the plot need to be filled. How did those people meet? Who is this character really working for? How does he unmask the villains? Key clues are also flagged, with links to who discovers them and how. In my Jeffrey Flint books the plots were constructed like an onion, with concealing layers that needed to be stripped away one by one.
After only an hour or two I have a messy piece of modern art and grubby hands. I take a snap on my phone for reference.
I often draw a second diagram as a villains-eye view. It shows the underlying plot, the one the reader doesn’t see and my heroes will only uncover piece by piece. This cross-checks the logic of the bad guys, what they hope to gain and how they respond as the heroes draw closer.
Thrillers generally have several threads to the plot which are gradually twisted together or are revealed to be red herrings. A sub-plot such as a romance or personal crisis of a lead character may need its own resolution. I use the wipe board again to make a plot list, colour coded for each strand, making sure each has its genesis and resolution – or is deliberately left hanging for the sequel. This points up plot lines that are undernourished and where more clues or twists are needed. Each thread is written onto a calendar so they can ultimately converge in a logical manner, and in a historical thriller also march in step with actual events.
Finally I’m ready to write Draft 2, aiming for 70,000 words or so in which the plot, sub-plots, clues and resolution are all there. It’s still not fit to show anyone, but at least I can start talking about ‘my next book’.
(c) Jason Monaghan 2022

You can learn more about Jason by visiting his website and Facebook page or following him on Twitter @Jasonthriller or Instagram @docmonaghan.

What do you think of Jason's "Plot Spider" method, or his "Filleted Fish" method?
As always, feel free to comment here or on social media.

​Until next time, best wishes,
Paul
Are you a writer with a tip to share? If so, please feel free to contact me here, or via email/social media. 👇

For this week's #TuesdayTip, I am thrilled to invite Jason Monaghan to share his "Filleted Fish" method for writing a first draft.  Stay tuned for a later tip, when he will be sharing his "Plot Spider" method for writing a second draft.

Jason is an author and archaeologist, now back working in his native Yorkshire after many travels. His career has taken unexpected twists including becoming a bank director, anti-money laundering specialist, shipwreck archaeologist and museum director. All of which creates plenty of inspiration for his thrillers, of which the latest is Blackshirt Masquerade published by the Historia imprint of Level Best books. He has also written the Jeffrey Flint archaeological thriller series available from Lume Books and is an active member of the Crime Writers Association.

Jason's Tip
Writers’ approaches to creating their first draft are classically discussed as ‘pantsers’ who write beginning to end and ‘plotters’ who map it all out before they begin. My approach is something in between, with the first draft resembling one of those filleted fish that a cartoon cat finds in a bin. It has a head, a tail, a backbone and a few ribs.
A plot comes to me as if I’m remembering a movie that I saw many years ago. There’s a shooting, but a man is running towards it; why? Who was the target and why did the shooter miss? It’s something to do with Blackshirt fascists and spies. Ideas start to build as I daydream in the shower or doing the washing up, and pretty soon I begin to write. In parallel I’ll commence background research for the historical period, geographic locations and technical detail. Facts will be dropped in as I find them, correcting the text if necessary.
I write the opening chapters pantser-style, knowing that the first pages will probably be replaced or heavily reworked as it is critical that the opening grabs both publisher and readers. This is the ‘head’, and the developing plot becomes the backbone. I’ll write the key action scenes, major character moments and big twists that become the ribs of the story. The first draft comes out as a stream of consciousness, jumping from one scene to another, not necessarily in sequence. It’s deliberately spare, with dialogue just using ‘he said/she said’ and omitting most of the animation, the setting down of teacups or anxiously glancing out of the window. That will come in later drafts once I’m certain I need that scene and it is worthwhile proceeding to polish it.
This methodology works for me, but it’s not the most efficient way to write. It came about due to time pressures of fitting writing around a day job, family commitments and academic research. Also, my thrillers don’t follow the linear sequence of crime to clue to suspect to resolution as employed in a classic police procedural. Several plot threads wind in and out before becoming tied together in the climax, and a fair amount of re-arranging of the ‘ribs’ will be needed in later drafts.
The filleted fish needs a tail, so I’ll write the ending fairly early as I need to know where the story is going. Loose ends need to be tied up, villains identified, and seeds planted for a sequel. I aim to have about 40,000 words in the first draft if the final target is 90-100k. The lead characters are all there, as is the main plot, and it has a beginning, middle and end. It’s not something I’d want anyone else to read, but I have a story. 
(c) Jason Monaghan 2022

You can learn more about Jason by visiting his website and Facebook page or following him on Twitter @Jasonthriller or Instagram @docmonaghan.

What do you think of Jason's "Filleted Fish" method?
As always, feel free to comment here or on social media.
Stay tuned for Jason's second post in a few weeks time and stop by next week, when I celebrate 100 Tuesday Tips by launching a new feature ...

Are you a writer with a tip to share? If so, please feel free to contact me here, or via email/social media. 👇

Today's Guest Blogger is the Michigan-based writer and artist, C.A. Michaels
Writing since 2010, she writes all genres except horror and focuses primarily on epic fantasy.
She is currently writing two series, one focusing on the Demon-Vampire Hunter (and axe tossing champion) Samantha Marie Peterson and the Pathfinders series The Elysian Gods.
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​C.A. Michaels' Writing Tips
First, there is always room for improvement and to read. Reading will help improve yourself.

On the topic of world-building, she says "I usually start with one world and the character. Even if Earth is involved. But I do like all that to be evolved over a series." When choosing names for her characters, she says the names "just come to me". In her fantasy, she has some easy names to say, like Seth and Karri, then there are some like Jutari. 
(c) C.A. Michaels 2022
You can find out more about C.A. Michaels by visiting her website or following her on Twitter @DRCAMichaels or Instagram @Digital_reverence.

For this week's tip, I'm delighted to welcome Keith Dixon.
Keith has written two series of crime novels – one featuring Sam Dyke, a private detective working in the north of England and another featuring Paul Storey, an ex-police marksman now living in Coventry and occasionally getting involved in bad stuff. He's currently embarked on a third series set in a fictional southern England resort.

Keith's Writing Tip

• Guidance to writers of fiction often includes the instruction: “When writing dialogue, avoid call and response.”

 What this means is that you should avoid having a character ask a question and another answer it directly, like this:
 
“Did you finish that report I asked you for?”
“Yes, I typed it up last night,” Joe said.
“What conclusions did you come to?”
“That the victim probably knew his attacker and let him into the house.”

This is all well and good, and gives the reader information they might need. But it’s dull!
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My tip is to remember that everyone in a scene has their own motivation and goal – another instruction writers are often given – and so answering a direct question with a straightforward answer might not satisfy their need to express themselves fully. So before writing the ‘obvious’ response, the factual reply, take a beat to consider the situation from the other person’s perspective and empathise with them …
 
“Did you finish that report I asked you for?”
“You never told me why it was so urgent. What’s the rush?”
“When I want to tell you why I do things, I’ll consider it … before deciding not to. All right?”
“I think you take me for granted.”
“I’m your boss, I’m allowed.”
“So it seems,” Joe said. “If you’re interested, I think the victim knew his attacker and let him in.”
 
The failure to answer a direct question leads to a brief exploration of the second character’s own feelings about being used by the first. This could have been intimated at through the narrator editorialising, but is more effective and direct when seen in the dialogue.
 
So before you write that next line, pause, and empathise with the character!
(c) Keith Dixon 2022

In a long and unstructured career, Keith has taught English and American Literature, been an advertising copywriter, a business psychologist and an online learning creator. He's currently living in France where he writes crime novels and wonders whether he should give up trying to play the guitar.

You can find out more about Keith and his writing by visiting his website or his Facebook page or by following him on Twitter (@keithyd6) and Instagram (@theidlewriter).

For this week's tip, I am delighted to welcome GB Williams. 
GB Specialises in fast paced, contemporary crime that doesn’t hide from harsh reality (not too much gore). She says "Nor do I hide from the fact that people have a heart, I will run through the gamut of emotion, and sometimes make the reader cry. There are many elements in my work, but it’s all about people and what they go through." 

GB's Writing Tip
Read out loud. 
When you think you’re ready to go, think again and read your work aloud. It doesn’t matter what genre you’re writing, or where you are on your publishing journey, to know if your manuscript works or not, the best way is to read it out loud.
This is a struggle for most authors, but stick with it. No one expects you to go all Shakespearean, enunciating each syllable and clipping every vowel, but it is important to know that the words sound right when read out. Reading aloud will highlight a lot of issues you would otherwise not know were there, and the various grammar checkers won’t tell you either. 
The inability to listen to your own voice doesn’t exclude you doing this either. There are many programmes which will read your work out for you. They are utterly expressionless, but I find that means I don’t get caught up in the story, I listen to the actual words and mistakes jump out. The latest versions of Word have a read to me option, as does the free download of Adobe, not sure about Pages as I don’t have a Mac, but I suspect that something is available for Mac users too.
Reading aloud also has another benefit, it lets you know what is easy/difficult to actually say.  There’s a surprising difference between what we can read in our heads and what we can read aloud. The added benefit of course, is that should your book got to audio, you’ve made life easier for the actor reading it.

GB specialises in complex, fast-paced crime novels, most recently, “The Chair”, but also the “Locked Trilogy”.  GB was shortlisted for the 2014 CWA Margery Allingham Short Story Competition with the story Last Shakes, now available in Last Cut Casebook. Crime novels are her stock in trade, but she has had success with short stories in other genres including steampunk, horror, and erotica, and has penned a successful steampunk series. She has a husband and two grown up children, not to mention the worlds most imperious demanding cat. GB is such a cat slave, even the neighbourhood cats come demanding dinner. Now working as a fulltime writer and freelance structural editor. GB hates every photo ever taken of her.
She is published by Black Bee Books.

To learn more about her and her writing, visit her website or her Facebook page.
Or you can follow her on Twitter @GailBWilliams or Instagram @gbwilliamsauthor.

This week I am delighted to welcome Fiona Veitch Smith. Fiona is the author of the Poppy Denby Investigates novels, Golden Age-style murder mysteries set in the 1920s. The Jazz Files was shortlisted for the CWA Historical Dagger (2016), while subsequent books were shortlisted for the Foreword Review Mystery Novel of the Year and the People’s Book Prize. She worked as a journalist on Cape Town newspapers in the 1990s before returning to the UK to work on regional magazines in NE England. Thereafter, she spent a decade lecturing creative writing at Northumbria University and journalism at Newcastle University. She is now the Assistant Secretary of the Crime Writers’ Association. She lives in Newcastle upon Tyne with her husband and teenage daughter.
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Fiona's #TuesdayTip.
Find your OWN writing rhythm. You will hear writing gurus (many of them famous authors) telling you that you must write every day to be a ‘real’ writer. That you must set yourself a word count. That you must carry on writing and not go back over what you’ve written before you reach the end of your novel. Well, I do none of those things. Due to caring duties and other work commitments, I only write three days a week, for only a few hours at a time. I rarely set myself a word count. I always go back over what I have written before I move on. And yet I have managed to write a novel a year for the last 10 years as well as a couple of dozen children’s picture books and hundreds of magazine and blog articles. If the ‘write every day, never go back over what you have written, and set yourself a word count’ style works for you then stick to it, but if it doesn’t, don’t be scared to work to your own rhythm. The important thing is that you write. Your way and in your time. And that it brings you, and hopefully others, some joy. Happy writing.
​(c) 2021 Fiona Veitch Smith

The Poppy Denby Investigates novels are Golden Age murder mysteries set in the 1920s dealing with issues of social justice while sizzling with jazz-age style. Poppy, dubbed the 1920’s most stylish sleuth, works on a London tabloid and solves murders on the side.
The first in the series is The Jazz Files and is available on Amazon.
The latest, The Crystal Crypt​ has just been released and is available here:
To find out more about Fiona and Poppy Denby, you can visit her website www.poppydenby.com and Facebook page or follow her on Twitter @FionaVeitchSmit and Instagram @fionaveitchsmith_author.

For this week's gues blog post, I am very excited to introduce Candy Denman. Candy is not only a novelist, but has also written TV scripts and therefore has a special insight into characterisation.
Candy writes a series of crime novels about forensic physician and part-time GP, Dr Callie Hughes. The first in the series is Dead Pretty​ and can be bought from Amazon. 
It is not unusual for Callie to see a dead body, but this time, the young woman’s corpse rings alarm bells. Her medical knowledge gives her unique insight into the killer, but convincing the police is a challenge. 

Candy's Writing Tip
When writing both scripts and novels, getting the ‘voice’ of a character is critical. Just as the reader/viewer has to believe in the story, it is just as important that they believe in the characters and what they are saying or how they are acting. Once the reader loses that suspension of disbelief, they lose interest in the story.
So how can a writer make sure they get the voice right and that they make the different characters sound sufficiently different? This isn’t about just giving them different accents, it’s more about making them distinct from each other.
When I write the back story and character traits for each character, I find it helpful to do it in the first person, so that each character describes themselves to me and give me their own potted history.
It might sound bonkers, but it works.
I’m a young lad, not bad, but I don’t take any shit, know what I mean? I didn’t mean to do it, it just sort of happened.
I’m not complaining, not really. I haven’t had an easy life, but nothing is as hard as this being on your own.  Sometimes I might not see anyone for weeks in a row and I find myself talking to my cat, what was her name? Tiddles. That’s right.  My long gone, dead cat Tiddles.
I do about half a page on each, depending on how big a character they are in the story and save them for reference. This is particularly important if you are writing a series, to make sure you get them right each time. A character can develop and change in time, depending on what has happened to them, but their overall voice will remain the same.
(c) 2021 Candy Denman

Candy trained as a nurse, and worked in the NHS almost all her life, until managing recently to disengage herself in order to become a full-time crime writer. She has also written a large number of scripts for such highly-acclaimed TV series as The Bill and Heartbeat which gave her the idea to write a crime series that also includes medical stories.
You can learn more about Candy by visiting her website www.candydenman.co.uk​ or Facebook Page and by following her on Twitter @CrimeCandy or Instagram @CandyDenman.

Welcome to this week's #TuesdayTip. 
Today, I am delighted to welcome Laraine Stephens as a guest blogger.
I am a writer of contemporary police procedurals, so I am especially excited to feature a writer of historical crime fiction.
Laraine lives in Beaumaris, a bayside suburb of Melbourne, Australia. After a career as a teacher-librarian and Head of Library, she decided to turn her hand to the craft of crime writing. She is a member of Writers Victoria, Sisters in Crime (Australia), the Australian Crime Writers’ Association and the Crime Writers’ Association of the UK.
Laraine’s debut novel, The Death Mask Murders, is the first in the Reggie da Costa Mysteries series. It was published by Level Best Books in June 2021. Her second book, A Dose of Death, is due out in May 2022.
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Laraine's #TuesdayTip
CREATING AN HISTORICAL SETTING
If you are writing an historical novel, it is important to create an authentic and accurate depiction of the period you have chosen. A writer should evoke a sense of a particular time and place, weaving information seamlessly into the narrative and dialogue. 
In researching The Death Mask Murders, set in Melbourne in 1918, I used digitised newspapers from the time, which were available through the National Library of Australia’s archive, Trove (free). In the United Kingdom, there is, for example, the British Newspaper Archive (pay) and in the United States, the Newspaper Archive (pay). 
From these sources, you can gain a wealth of information on the social, political and economic circumstances of the time, including specific events. Another advantage of using digitised newspapers is discovering whether a word or expression was in common use at the time. For example, when was ‘meal ticket’, ‘serial killer’, ‘dodge a bullet’, ‘tuxedo’ or ‘boyfriend’ (in the romantic sense) first used? Advertisements and even the Classifieds will provide information on subjects as diverse as stage shows, entertainment, cars, prices, product brands and clothing. Without this resource, Reggie da Costa, The Argus’s senior crime reporter, in The Death Mask Murders, would never have worn his impeccably cut linen suit, high-collared cream shirt, and green striped tie from Wallace, Buck and Goodes of Queens Walk. Nor would he have driven a 1917 Dodge Roadster, a flashy, two-seater automobile with a wooden steering wheel, black paintwork, and shiny large headlamps, which was his pride and joy. 
I finish with a word of warning. When it comes to writing, historical background and detail should never overwhelm the plot. Our readers buy novels with the expectation that they will enjoy a cracking, good story, rather than drowning in a reservoir of information.
(c) Laraine Stephens 2021.
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Laraine Stephens is a writer of historical crime fiction. Her novels are set in Melbourne, Australia in the early years of the twentieth century. Her debut novel, The Death Mask Murders, is available from Amazon
You can learn more about Laraine by visiting her Website or Facebook Page.